When I arrived in Ecuador to carry out research for my MA in Native American Studies, I never imagined that 20 years later I would be supporting 1200 traditional textile producers throughout the Andean region. On that first research trip to study textile production, I was shocked to see how the market was controlled by middlemen. I met two groups of workers who had organised themselves into co-operatives, but both had experienced arson attacks due to the threat which they posed to the intermediaries' monopoly of the supply chain.
Outraged by these clear injustices, I decided to return to Ecuador in order to provide a sales outlet for these groups who were unable to trade locally. Knitting was introduced as a means of income by Peace Corps volunteers in the 60s and the market in the Plaza de Ponchos was full of the ubiquitous fair isle jumper with very little design development taking place. Armed with a book on petroglyphs from the Imbabura and Carchi regions, I drew some designs, combined them with natural dyes and hand-fired raku buttons featuring pre-Colombian designs, and my first knitwear collection was born. My intention was to sell the knitwear at fairs over the summer before starting my fully-funded PhD in Andean textiles. However, I hadn't envisaged the success of my first collection, nor realised the positive impact it would have on my producers' livelihoods, so at the end of the summer I reluctantly turned down my PhD.
I named my new business Pachacuti, meaning world upside-down in the Quechua language, as it signified my desire to redress the inequalities in the fashion industry through demonstrating that it was possible to run a successful clothing business which benefited the producers and was environmentally sustainable. The next few months tested my resolve: the theft of all of my profits and a business loan by an armed robber in Ecuador with a death threat if I pursued him; sterling plummeting on Black Thursday; recession in the UK. However, I knew that ultimately my work was making a real difference to the groups I had met. By this stage I was not only working with knitters, but also embroiderers, tailors, weavers, hatters and was making my first forays into what would become our best-selling line, Panama hats. Geographically, I had begun working with groups in the highlands of Peru and a natural dye project on the Bolivian altiplano. My aim was to take the best of Andean traditional skills, combine with designs appropriate for the western market and ensure adherence to Fair Trade and sustainable business principles.
Although agriculture had been the historic basis of income in the Otavalo region, many people had turned to craft and textile production in order to supplement their household income. In fact, Lynn Meisch (2002) documented that in the mid '90s income from hand-knitted jumpers brought in more than $15 million a year. The relative prosperity of the region in the '90s led to an increase in disposable income. Over the course of the decade I saw a growing trend amongst the men to substitute their traje tipico of white trousers, pintuck shirt, alpargata shoes, poncho and felt hat with jeans and a T-shirt, keeping just their long hair as a symbol of indigenous identity. Traditional male dress which has been an indentifying feature in Otavalan ethnicity is becoming archaic, used predominantly for celebrations such as weddings and baptisms. Changes in female dress have been less rapid, but are still noticeable amongst the younger generation.
Otavalo's textile boom came to an end in 2000 due to the introduction of the US dollar as the national currency, leading to higher costs for raw materials and energy, falling tourism and fewer international buyers. Coupled with the aforementioned decline in the local market, textile producers were left with few outlets for their skills. The challenge for Pachacuti was continue to innovate, creating new markets in Europe, Japan and the US for a line of clothing and accessories which utilised these traditional skills.
The embroidered blouse is one of the most important aspects of women's dress from the region. The white cotton blouse has an intricate yolk designs which is traditionally based on floral motifs, but can incorporate animals, birds and other decorative elements. The hand-embroidery can be very fine and women in the area are justifiably proud of their skills. My challenge was to create a marketable range which could provide the embroiderers with a constant income and which utilised local skills and raw materials (high quality Colombian embroidery threads rather than imported Chinese thread and local lienzo cotton fabric) to their best advantage. I looked towards nature for my design influence and Pachacuti's range of girls' dresses was launched in 2004. It was an immediate success, being sold by the V&A to accompany their Arts & Crafts exhibition as an example of the contemporary influence of the movement.
Pachacuti is best-known for our range of Panama Hats, from classic to contemporary styles. From the green lawns of Britain to the catwalks of Paris, the Panama Hat is experiencing a resurgence in popularity, having been a quintessential symbol of British summer fashion ever since 1906 when Edward VII rejected formal morning dress in favour a linen suit topped off with a fine Panama hat to attend Glorious Goodwood. Indeed, the classic Panama hat epitomises the idea of slow fashion, a backlash against the disposable fashion of recent years which has seemed frivolous during a time of recession.
The earliest evidence of a Panama hat can be found on a small ceramic figure attributed to the Valdivia culture of Ecuador from 4,000 B.C. As the hat industry flourished in the mid 19th century, so many large companies were formed along with middlemen who operated throughout the supply chain. These intermediaries are known as perros (dogs) due to their unscrupulous purchasing methods. As a result of this exploitation, hat weaving has been dying out as young women opt for moving to urban centres, usually for low-paid domestic work, rather than remain within their rural communities.
Pachacuti is the UK’s only Fair Trade hat specialist, working directly with women's co-operatives in southern Ecuador. With a Pachacuti panama, the women carry out the entire production process from weaving to finishing and they therefore retain more of the final value of the hat. Moreover, Pachacuti finances a pension scheme, training, capital expenditure, community development projects and health care. Pachacuti's Fair Trade purchasing gives the women a sustainable livelihood, enabling them to stay within their rural communities where they can fit hat weaving around the agricultural cycle and caring for their families.
Panamas are
made from native toquilla grass which is harvested sustainably along the coast of Ecuador. In October 2009, I visited the straw growers on a community-owned plantation of 5600 hectares practising organic agriculture and encouraging biodiversity. The entire processing of the hat uses no harmful chemicals and the mild chemicals used to bleach the hats are filtered through a system of tanks so that water can be constantly re-used in the production process. When a Panama finally reaches the end of its life after many years of wear, it can be put on the compost heap - a truly sustainable product.
The village of Iluman, north of Otavalo, is known as the Village of Hats and felt hats have been produced here since colonial times. In the 1990s there were over 20 workshops producing felt hats but now just a couple remain. The classic style worn by men in the region is a narrow-brimmed version of the trilby. I wanted to create some more distinctive designs which would bring in added value. Our ladies felt range is all hand-blocked and hand-finished and we also undertake commissions for designs from other retailers. By paying a good price for our felt hats, we are undoubtedly helping to keep alive one of the last remaining hat workshops in the area.
As a res
ult of our work in pioneering Fair Trade and sustainable business practices, Pachacuti is the first company in the world to be externally audited and awarded new Fair Trade accreditation by the World Fair Trade Organization (WFTO). We can now put Fair Trade Certified WFTO Reg 001-2009 UK on all of our product range. Pachacuti conducts an annual assessment of producer groups which covers all aspects of Fair Trade, not just a fair price but also issues such as training in skills, cultural identity, environmental management, gender issues, trade relations, health and safety. For instance, on a visit in October 2008, our embroiderers complained of poor vision and we subsequently purchased glasses and paid for eye operations. This year we are hoping to raise money for glasses for all of our hat weavers.
If producers are not well remunerated, traditional textile skills could die out within just a few generations. My experience has shown that social, welfare, economic and environmental improvements can play a vital part in keeping this cultural heritage alive and vibrant. Through combining contemporary design with traditional creative techniques which reflect the rich artistic heritage of the Andean region, we will continue to affirm the value and identity of indigenous skills and create a better future for our producers.